Jazz and Pop, Youth and Middle Age like Young

By Francis Davis | Go to book overview
Save to active project

Aftershocks

Observing the scene around McCoy Tyner at Penn's Landing this summer, a stranger to Philadelphia might have thought that being a jazz fan there was a patronage job. Everybody lining up to shake the pianist's hand as he made his way from his trailer to the stage seemed to be related to a jazz giant by blood or marriage, or to have taken auto shop with one in high school. It was as though not to pay respects to Tyner would have been a serious breech of protocol that could have resulted in immediate dismissal from the local jazz community.

Things are different in New York, where the fifty-eight-year-old Tyner lives now and where audiences seem more aware that giants need their space. A few years ago, when Tyner was performing with his trio in Greenwich Village, the latecomers to his final set one evening included Reggie Workman, a bassist who played alongside him in John Coltrane's rhythm section in the early 1960s, but whose relationship with Tyner went back even further, to when both were growing up in Philadelphia. (Workman often traveled from his parents' home in the Germantown section to Tyner's mother's beauty shop, on the corner of May and Fairmount Streets, in North Philadelphia, for late-night jam sessions.) Workman hoped to touch base with Tyner after the set—as did a writer working on a Coltrane biography, who was sitting at the same table.

What proved to be the final tune ended with a long, sliding bass solo by Avery Sharpe, accompanied by only an occasional cymbal tap by the drummer Aaron Scott. Surprisingly, Tyner never returned to the bandstand to take the tune out. As Sharpe zipped up his bass and Scott tight‐

-77-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
Jazz and Pop, Youth and Middle Age like Young
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 348

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?